Smallvile: Season 10 Reviews
by Dark Onyx
Summary: UPDATE! Episode two, SHIELD, has been uploaded! If you are looking for fair, thorough, and in-depth reviews, then you have come to the right author. Please review, and enjoy!
1. Lazarus

DISCLAIMER: I claim no ownership of the television series _Smallville. Smallville _is the property of Warner Bros. Entertainment and the CW Television Network. No profit is being made in the making of this review, and no copyright infringement is intended.

_Topic:_ Episode Review

_Reviewed Episode:_ The Smallville Season 10 Premiere: _"Lazarus."_

_Reviewer:_ Dark Onyx

_Dedication:_ This chapter, and every following chapter, is dedicated to both Jimmy Olsen and my deceased grandfather Andre. Rest in Peace. The both of you will be dearly missed.

"_THE SMALLVILLE SEASON TEN PREMIERE: LAZARUS."_

Welcome one, welcome all, to my review of _Smallville's _Season 10 premiere. As I'm sure at least a few of you know, I'm not quite a newbie at reviewing episodes of this series. If you check my profile, you'll see that I've already written exactly one review for the Season 8 finale "Doomsday." Suffice to say, that episode is my absolute least favorite _Smallville_ episode of all time. But despite my feelings on that episode (or Season 8 in general, for that matter) I'm coming into this episode and Season with no hard feelings. So, ladies and gentlemen, sit back, relax, grab some popcorn and kiss your lady, because this is gonna be a bumpy ride! May I present to you all my review of the _Smallville_ Season 10 Premiere Episode _"Lazarus."_

_REVIEW_

Our episode opens with the scene of Clark plummeting towards the ground at an extraordinarily fast rate. The gateway opened by the Book of Rao has spontaneously closed in on itself, apparently sealing the gateway and returning the sky to its normal hue. Clark hits the ground with a rather sickening THUNK. If you remember, the Blue Kryptonite dagger is still embedded in his torso, so in all likelihood, he's not getting up anytime soon.

Lois runs over to him out of nowhere, finding Clark (who is AMAZINGLY still in one piece) lying "dead" on the street. She puts her head on his chest to check and see if he has a heartbeat, but before we can receive complete confirmation on whether or not he has one, we switch scenes.

* * *

Clark in lying in grass, looking quite good for somone who just feel a hundred stories. Seriously, he looks great. His hair's gratuitously styled, his mortal and bloody wounds are all gone, and he's waling around as if he just got up from a comfy little nap. I know, I know, real world logic doesn't apply in life-or-death situations such as these, but still: I bet I wouldn't look half as good in his place. The tosser.

He gets up from his lying position and begins to look around. He seems to be in a cornfield. He looks understandably confused at this, but his confusion turns to alarm when he looks around and sees the surreal, blue-green sky. Cautiously, he begins to walk forwards into the field.

He comes to a small clearing, one that should look familiar to anyone who has seen the _Smallville_ pilot. Right in the middle of the clearing is a wooden cross, on which are a pack of ravens. The ravens fly off ominously (I swear to God one of them flipped him the bird) and in a flash of green light, a tombstone appears a few feet away from him on his left-hand side.

Clark looks over to inspect it. The first name is covered up by a convenient patch of grass, but the name "Kent" can be clearly seen. Suddenly, big daddy douche Jor-El begins to speak.

Clark asks Jor-El if he's dead. Jor-El responds by saying that he's simply teetering on the abyss between our world and the afterlife. Clark walks over to get a better look at the grave, believing it's Jonathan's. He brushes the grass aside and it is revealed that the grave isn't Jonathan's - it's Clark's.

Spooky.

Clark refuses his death, but he looks noticeably shaken. Jor-El comments that since Clark allowed himself to be killed, he left the humans vulnerable to future evil. Clark refutes Jor-El's accusations, mentioning that he left the JLA/JSA behind to protect us. Jor-El scoffs at this, basically saying that Clark is the world's only hope.

Clark asks Jor-El to send him back. I think it's worth mentioning that I became slightly worried at this. As most of you know, the last time that Jor-El brought Clark back from the edge of death, another life was taken in return for his. The circumstances were admittedly a little different back then, but we all know that Jor-El isn't one to split hairs. The point is, if I were Clark, I would have been just a _little_ bit more cautious in asking Jor-El to send me back.

Jor-El began to get angry. He claims that Clark actually denied his destiny once again by choosing the "martyr's path" and isn't sure if Clark even deserves another chance at life. Clark angrily claims that he knows his fate and smashes the tombstone. Thunder begins to boom, and then all of a sudden, everything goes silent. Jor-El has left the building.

A man in white steps out into the field. He's bald and his face is hidden by the glow of the sun. It's Lex. Both he and Clark disappear, one after the other, in a flash of green light.

* * *

We cut back to Lois, who is still hanging over Clark's body. She has (for whatever reason) pulled out the Blue Kryptonite dagger. She tosses it far away from Clark, and almost instantly, he begins to stir. She gets up a slips behind a convenient curtain. She watches Clark stand up and look to the sky (did I mention it's morning now all of a sudden?), the rain washing off all that icky blood. His wounds heal themselves and he speeds away.

Question: now that Clark has his powers back, shouldn't he have been sucked into the gateway? I know I mentioned that the gateway closed in on itself as Clark was plummeting, and if we're speaking logically, then that would be because all of the super-powered Kryptonians on Earth had been sucked sent into the new world. However: the Book of Rao is still in the console, and it has never once been said that it would "deactivate" after it "succeeded" in zapping all of the Kryptonians to the new world. Since no evidence to the contrary has ever been revealed or implied, I'm going to have to call this a plot hole.

Clark also left the Book in the console at the top of the tower, where anyone could theoretically retrieve it. That's a second plot hole.

* * *

We cut now to the Watchtower. Chloe bursts through the double doors and pulls up the video file she's just collected of the incident with Oliver. Just before the video ends, a man appears where Oliver once was, claiming that he was "coming for all of them."

With a determined look on her face, Chloe walks over to a desk drawer and pulls out a golden key. Just as she's about to go out and put it to good use, Clark super-speeds in out of nowhere.

I'm sorry, but I have to ask: how the heck is Clark able to just come in like that? As we've seen in a previous episode (Sacrifice, if memory serves me right) the only way to gain access into the main area is to take the elevator, which Clark obviously doesn't do. We have no idea if stairs exist in the Watchtower, but I'm going to assume that they do. So my question is this: just how exactly are the stairs of the Watchtower protected?

If Clark could just waltz into the Tower whenever he wanted, doesn't it stand to reason that the Kandorians could have done so just as easily last season? To my knowledge, Watchtower is neither shielded with lead nor is made out of building material that would have somehow block even Clark's ears. If one of the Kandorians had been even mildly interested in finding and/or infiltrating the Tower, then by all means, it looks like they could have easily done so. Shouldn't the place be a bit more fortified than that?

One could argue that Chloe has cameras up and running around each and every stair level, but when we're dealing with Kryptonians, that's a very moot point.

(I realize this has nothing to do with the episode, and I'm not taking any points off for this observation.)

Clark and Chloe embrace. Chloe is shocked that Clark is still on Earth. Clark vaguely describes what happened with him and Jor-El, and Chloe immediately asks if Jor-El specifically identified the new evil he spoke of. Clark quickly mentions his brief sighting of Lex. He also reveals Dr. Fate's prediction about his and Lex's interconnected destinies.

Clark and Chloe begin to speculate on if Lex is truly alive and Clark guesses that he is maybe hiding out at one of his old research facilities. Chloe goes over to one of her computers (her electric bill must be crazy) and begins to dig of files on some of Lex's old projects. Chloe insists that every one of Lex's projects are dead. Clark presses the issue, pointing out that he could have perhaps revived a project from many years ago, when there "wasn't much digital record to track."

Chloe suggests that he go check out the archives at the Daily Planet to see if there was a story out there that could give them proper information. I'm going to assume that this is a diversionary tactic to get Clark to leave, since Chloe could very easily access the archives from her Watchtower computers.

After Clark exits, Chloe walks out of Watchtower.

* * *

Cut to the Daily Planet archives. Lois is looking through old "Torch" articles. She (through _Smallville's_ signature miraculous leaps of logic) figures out that she's the last one to find out Clark's secret. Clark (sporting some new duds) walks in just as Lois rises to leave.

He's startled to see her, thinking that she'd be in Africa by now. She claims she "postponed" her trip and goes to hug him. Clark spots old newspaper headings detailing the Blur's heroics and questions her motivations. She confirms his suspicions and mentions the kiss. Clark looks uncomfortable at first, but at Lois' mention of just how fan-tabulous-ly awesome it was, he looks quite proud of himself.

Clark mentions that it was quite bold of the Blur to just kiss her like that. Lois wonders if being all dark and mysterious is a fetish of the Blur's. Naturally, this wipes the smile off Clark's face.

Lois (chipper) asks if there's a reason Clark was down in the archives. He responds that he's on a tight deadline and noticeably glances at the file cabinets across the room. Seeing this, Lois "accidentally" drops her pen. She (rather unconvincingly, I'd say) pretends to look for it. Even Clark notices how odd Lois is being ("Where are you pen?") but decides to brush it off. For reasons I can't fathom, Clark used his _super-speed_ to zoom _right across the room_ to grabs the file he needs.

You could argue that Lois wasn't trying to be convincing here, and I would agree with you. However, I would like to point out that she was really, _really _obvious about what she was trying to do. Wouldn't Clark have normally vocally questioned her odd behavior? I recognize that he was in a hurry (which is why points aren't being taken; and besides, this was hilarious, and not meant to be taken so seriously) but still, that's never stopped him before.

Clark makes up a customary crappy excuse for finding the file so fast and prepares to leave. Lois mentions that they need to have a talk. They agree to meet at the barn later on that night and Clark exits.

Who reading this actually thought that Clark would make it to the meeting?

No one? No? Didn't think so.

* * *

Clark looks through the file while simultaneously conversing with Chloe on his cell. He mentions CADMUS Labs was a place that was previously linked to LuthorCorp that wasn't in her files, and because of that, he needs her to look up the address for him. You'd think it'd have been in the article itself, considering its apparently small link to LuthorCorp was big enough to make the paper, but I digress.

Chloe can't do that, she says, because she isn't at Watchtower. The camera pans back to reveal to us that she is at the JSA's mansion. A voice begins to speak.

I couldn't make out a lot of the words, but I know I heard "…foolish girl" and "not chosen." It became obvious to me then and there that the one speaking was the Helmet of Nabu.

Clark, alarmed, demands to know where Chloe is. Chloe apologizes for what she's about to do, and hangs up on him.

After five seconds, I began to wonder if Clark really cared where she was.

Come on. The guy has super-speed, super-hearing, and X-Ray vision. If he wanted to, he could find Chloe in seven seconds, at the most. The fact that he didn't use his abilities to find her suggests that he either doesn't really care or that the writing is inconsistent. I'll take the second option for 300.

Chloe unlocks the case the Helmet was in and picks it up slowly. At this point, I asked myself: "Why the _f*ck _did the JSA leave the Helmet unattended?" Seriously. There is _no one _there. Any old fool could just walk right in and steal it. You could argue that the Helmet would always find its way back to the mansion if it was stolen by someone who wasn't "chosen" but the fact stands that the Helmet can either drive someone insane or transform them into an incredibly dangerous individual. Every member of the JSA knows this, so what could possibly possess them to leave it alone? That just doesn't make any sense.

And for that matter, who the Hell decided it was a good idea to give Chloe the key to unlock the case?

Anyway, Chloe picks up the Helmet and asks it where Oliver is. The Helmet asks if she would sacrifice herself to save him. It doesn't give her a chance to answer; it swallows her face and bombards her with visions, visions that we do not see.

Clark, several minutes too late, speeds into the mansion. The Helmet is off of Chloe's face and is lying near her arm. She's unconscious and doesn't look very good.

* * *

We cut, to my dismay, to Smallville's weekly dose of homo erotica.

We see Oliver, in a dark room, blindfolded. His chest is bare and he's chained to a chair and there's another grown man standing over him, pounding on his already battered body. Yeah…there's absolutely no hidden subtext there at all.

Oliver, ever the wise-cracker, shoots a witty retort at his captor. The captor thinks it's fit Ollie can't see him since the world is now half-blind because of the symbols that had been carved into it's greatest monuments. He also brings up the fact that all the satellites of the Earth had been shut down - except for Ollie's.

The captor reveals he knows that Oliver's satellite was tracking the Kandorians. He also mentions that the Blur is another person of interest, seeing as how his "dot" matched the Kandorians'. What the captor wants to know is Ollie's connection to the situation.

Ollie refuses to answer the question, but instead declares himself a good guy. After he gets smart again, the captor dishes out more punishment.

By the way: Oliver's scar - the one that Zod burned onto his chest - is missing. And for the record, I feel that these scenes of Oliver getting tortured were a real waste of time. It didn't give us much valuable information on either his captor or their true motives, so it was basically just taking up space. I understand that it was necessary to resolve the issue of who took Oliver last episode, but they could have solved that problem by ending it with us seeing the captor's face on Chloe's monitor and picking up on that and the end of this episode and continuing on it in later episodes.

These torture scenes felt like they came from a completely different show. In fact, while watching them, I had to ask myself what Oliver is still doing on the show. In my opinion, he should have long since left for Star City.

I enjoy Oliver's character and I think he's a good guy, but if he's only part of the show right now to continue to go behind Clark's back and just be Chloe's is he/isn't he boyfriend, then I'm afraid the writers are wasting our, their, and Just Hartley's time.

* * *

We cut to a lab. The camera pans up to reveal a sleeping Tess. She wakes and seems confused about her current whereabouts. After she turns, we see that there's something on her face. She hops off the makeshift bed she was sleeping on and runs over to examine herself. She removes the plastic covering her face, revealing that it has been completely healed.

It's revealed that she's in CADMUS Labs. Throwing on a convenient robe, Tess begins to explore. She leaves her room and goes into another, one filled with several deformed clones of Lex. She pulls out a convenient security card from her robe and swipes it in its appropriate spot, opening a door and revealing to us a red-headed little boy.

Ladies and gentlemen, say hello to Alexander.

Alexander and Tess explore the place, hand-in-hand. Alexander reveals to Tess that the deformed clones are his "brothers." Tess figures out that all of them (including Alexander) had been engineered from Lex's DNA. Alexander tells Tess that they were all created to heal the "Creator" as they had healed Tess.

Alexander goes on to say that a lot of the clones either came out sick or aged too fast. Suddenly, there's a banging on a door. Tess (for some _dumbass_ reason) opens it.

A hand reaches out and grabs Tess from behind. The one who grabbed her is tall and bald, obviously another clone of Lex. The clone (who will be henceforth referred to as Fake Lex, or "Flex") says her name, and they stop struggling.

At Tess' questioning, Flex reveals that he has all of Lex's memories up to the point where he was blown up in the truck. Flex gets a nosebleed out of nowhere; clearly, he's imperfect.

Tess uses the opportunity to fight him off, commanding Alexander to run away. Flex once again gets the upper hand and knocks Tess to the ground. Claiming that there can only be only Lex Luthor, he sets the lab on fire.

* * *

Cut to the Watchtower. Emil is there, his equipment all set up. Pushing Clark out of the way, he begins to examine Chloe. He comes to conclusion that her body is acting as if it has gone through massive trauma. Clark bends down to talk to her, and just like magic, Chloe wakes up right then and there.

…really?

Are they serious? That has got to be the most cliché thing they have ever done. And that's saying a lot.

Chloe, out of breath, reveals that she saw Ollie's location when she put on Fate's Helmet. Deflecting Clark's question on where he is _exactly, _she brings to his attention what she saw of _him_ in her vision. He was a great hero, the best, and he wasn't wearing black. Almost off-handedly, she informs him of the ruination of CADMUS Labs. She urges him to go there, despite the fact that it was mentioned just a few minutes ago that _he doesn't know where it is. _

You could make the argument that he found its location during the time between Chloe put on the Helmet and him finding her, but I don't think that Clark would just leave her alone like that.

You could also say that Clark could have sped off to a computer to find some info. That doesn't work for two reasone. One...he's in the freakin' _Watchtower. _Two: Chloe made it sound as if he needed to get ther _now, _so stopping somewhere to gain the necessary info would be a big no-no. And besides: he's in the freakin' _Watchtower. _I can't stress that enough. If he didn't know where to go, he should have used the Watchtower's computers. And there's no way he could have known where to go beforehand, so him automatically showing up at CADMUS makes no sense.

Continuity is a real bitch, isn't it?

* * *

We cut to the barn. It's nighttime now. Clark should have used Watchtower's computers.

Lois is pacing and comes across the package Martha Kent left for Clark in Salvation. Curious, she opens it. And, for the first time, we see the Superman suit.

It's wrapped in red cloth. Lois gently pulls it aside to reveal the symbol of the House of El emblazoned on a blue shirt. The design is identical to the top half of the Superman Returns suit.

Lois rewraps the suit as she hears someone ascend the steps. Just as she turns around to greet Clark - Flex pimp smacks her across the face with a pole.

Flex is totally a pimp. And now he has a fancy black trench coat to show it. Say it with me: bad..._ass._

* * *

We cut to CADMUS Labs, extra crispy. Clark walks in and sees all the dead clones. I wonder how the clones got set on the fire in the first place, seeing as how they were in _water_ the entire time.

Clark walks into the other room to see Tess. For some reason, neither she nor the area she's in has been harmed by the fire, despite the fact that it's pretty well known that fire very easily spreads. She obviously didn't put it out, and I doubt Flex would readily have the means to stop the fire once it destroyed all of the clones, so, again, we have a plot hole.

Clark cautiously approaches Tess, asking who set the lab on fire. She reveals to him about Lex's plan to harvest the clones' organs and tells him about Flex. Clark releases her from where she had been tied and begins to walk away. Tess stops him, telling him that Flex had left a message (which is apparently the only reason why she was "allowed" to live). She tells him that Flex is waiting for him at Lawson's Field (the place where Lex rescued Clark for the first time).

It's about to go _down._

* * *

We cut to a clearing Lawson's Field. Lois has been tied to a wooden cross and a red "S" has been painted onto the front of her shirt.

Okay, seriously, I have to call foul on this. I had to sit and watch Tom Welling stripped down to his undies, but Erica Durance gets to keep both her pants _and _her shirt on? That's bull.

Flex walks out and begins taunting her. I have to say: the guy who played Flex, Mackenzie Gray, bears a startling resemblance to Lord Voldemort. That adds extra points to his evil-o-meter.

It's through this taunting that Lois figures out that the creepy bald dude who dragged her unconscious body into a field and tied to a cross was Lex Luthor. She's suitably horrified.

Flex chuckles at her horror and tells her that she is Clark's - the Blur's - greatest weakness. Just before leaving her to go meet Clark, he sets the field ablaze.

Question: if all of Flex's memories are only of what happened up to the time Lex died, then why in the world is he going after Lois in the first place? He wants to destroy Clark emotionally, to _break_ him. Wouldn't Martha Kent be a more logical choice, especially seeing as how he's had _hours _to come up with his scheme? Lex most likely couldn't have found out that Lois and Clark had gotten together in the last two years because of the sheer attention his plan needed (which I will go into more detail about later.) And even if he _could_ have, they've only been together for one year, and he certainly would not know any of the specifics of their relationship. So I ask again: wouldn't Martha have been a better choice?

Before we go on, I have to admit: however objective I am of Flex's plan, I have to admit: he is _awesome. _He can do all the things the real Lex could have done, and the best part is, he does it with that Lex-y _style. _This guy's no Rosenbaum, but he is undeniably one bad motha -

* * *

We cut to Flex, waiting patiently in a different part of the field. Clark speeds up to him, dressed in his Blur attire. Clark looks unimpressed with Flex and demands to know where the real Lex is.

Flex reveals that the "Creator" died two years ago. The two begin to speak about the very first time Clark saved Lex's life.

Flex begins to taunt Clark, claiming that he has become arrogant. He claims that there is darkness in Clark's heart.

Flex comments that Clark is just like him.

Rightfully angry, Clark refutes this. Unperturbed, Flex continues to ridicule Clark, saying to him that he has brought on death and destruction. Clark grabs Flex angrily and all but slams him onto the ground. He's choking him, and he doesn't look like he has any intention of stopping. However, when Flex's nose begins to bleed, he finally lets up.

Flex reveals to us that he is dying. He expresses regret that he won't live to see the world turn on Clark. Clark orders Flex to tell him what he has done. Flex tells Clark that an explosion will soon rock the DP, and the giant globe at the top will fall onto the rush hour traffic. As Clark stands to take care of the explosion, Flex calls him back, giving him the second option to save Lois from the fire he caused.

I'll say it again: _Flex__ should not know that Lois is the love of his life. _

Let's go over his plan and see if we cna come up with a better one, shall we?

Flex's plan is simple: Clark must let himself be destroyed emotionally or choose to let thousands of people die for the sake of one. But the problem is, Lois shouldn't be the one who Flex is targeting. His target, if we're using logic, should by all means be either Lana or Martha Kent.

But Flex is obviously on a deadline, right? He seemed to know that he would die soon, and he had to act quick. One could argue that he used the first person available to him (Lois) and got lucky. But see, the "time" argument doesn't work so well when you realize the time limit that was available to him:

A. Flex had enough time to escape the lab and find a change his clothes.

B. He was able to find and hook up explosives explosives powerful enough to send the DP globe toppling.

C. He was able to go from Metropolis to Smallville (a two or three hour trip) to find Lois at the barn (after presumably checking the Talon first).

D. Drag Lois' body from Clark's barn into the field, tie her to the cross, and paint an "S" on her chest.

It was implied that his encounter with Tess took place in the morning, around the time Chloe was at the JSA mansion, or at least a few hours after. This means that Flex had a truckload of hours at his disposal.

That time Flex spent to think of the plan we saw could have been better used to devise one that was a bit more logical. For example, the part where the DP globe collapses onto thousands of people is great. However, the part of the plan that involves crippling Clark emotionally doesn't really hold up. A better idea would have been to set explosives at a key event (possibly a gala or a ball) that Martha was atttending, or even her very residence.

Flex tells Clark that he has to make a choice: he has to either save the thousands of Metropolis citizens from being crushed by the DP globe or save his own mother from being blown to Kingom Come.

The hero in him would want to place the needs of the people above his own and save them from the citizens of Metropolis. However, the man, Clark Kent, would want to save his mother, the othe rhalf of his moral compass, the woman halfway responsible for the man he is today, from being killed. Add that to the fact that it would surely take Clark a while to get from Washington to Metropolis (or vice-versa) and you keep the time issue that Flex was so fond of.

I think that's a pretty good plan. If you don't think so, don't be afraid to say so in your reviews.

Anyway: Flex chuckles and comments that not even Clark is fast enough to save both Lois and the people.

Shameless reference to the Donner films. I liked it.

Before Flex dies he gives Clark the info on Lois' location.

I felt a little sad when Flex died. He was an awesome villian, and the guy who played him was amazing. I wish he could have stayed on as a recurring character.

* * *

Clark runs, faster than he's ever ran before, to go save Lois, just as the bombs on the DP globe detonate. The fire is beginning to come closer and closer towards Lois, who is struggling to get free. Clark runs around in a circle, using his speed as a vacuum to get rid of the fire surrounding Lois. He releases her from the ropes binding her to the cross and speeds away.

* * *

Just as the globe is beginning to fall, Clark shows up. He comes in at maximum velocity, making a giant super-leap to catch the globe in mid-air. For a second, it almost looks like he's flying.

* * *

We cut to Clark running towards the farm. He goes right into the barn and heads straight for the package his mother left him, a smile on his face and a determined look in his eye. He lifts open the box and he sees his new costume. Before he has a chance to try it on, he (and it) is zapped into the Fortress.

QUESTION: how the F*UCK did the Fortress repair itself? Zod _smashed_ the console! _Smashed_ it! The Fortress was _dead. _Jor-El was _gone. _And now the writers want us to just ignore all of what happened in thelast episode and just go along with the bullcrap they're subjecting us to? No. Uh-uh. That ain't gonna fly.

Clark looks around at the _somehow repaired Fortress. _It has a shiny new console and _everything. _Seriously, they must think we're idiots.

Clark speaks up, filling Jor-El in on all that he's done. He even tells him that - for just one second - he felt as if he were flying. And he does it with a smile.

For the first time in a very long time, Clark feels _proud _of himself. He feels confident _in_ himself. For once, he's not being self-deprecating. He's simply being _positive._

So of course, it all has to get taken away from him.

Jor-El expresses anger at his son for "bragging" about his accomplishments. He expresses disgust at Clark's behavior towards Flex, criticizing his behavior heavily.

You're kidding. Jor-El has the _nerve _to grill into Clark for almost taking a man's life after he _vaporized _Lindsey Harrison and put Jonathan Kent into a _coma_ for _three months? _This is coming from _a man who burned a freaking symbol into his son's chest just to get him to __**obey? **_The f*cking _nerve._

I'm not defending Clark. He shouldn't have lost his temper, and he shouldn't have been so agressive with Flex. But hearing all of this coming from_ Jor-El _of all people? That's a dead mission.

Clark begins to shout back at Jor-El, defending himself. The Fortress shakes violently, and Clark is momentarily quieted. Jor-El reveals that the evil that is coming to Earth preys on weak souls like Clark's (the NERVE), and if/when the evil gains control of him, _Clark_ will become the Earth's greatest threat.

Clark denies this fate, although with much less vigor than before. Clark, clearly hurt by his father's words, tries to shrug off Jor-El's words. He says that even though he (Jor-El) doesn't see him as a hero, the rest of the world does, and that's all that matters.

Jor-El's final words:

"I regret, as a father. My faith in you blinded me to the truth. You will _never _be Earth's savior."

The Fortress goes dark.

Ouch.

And I mean _ouch._

So...instead of trying to help Clark manage his "arrogance" and learn to defeat the new evil, he just leaves him hanging. Jor-El is a hypocritical _prick._

* * *

(Sigh) We cut to Oliver' Queens nipple. Oliver is awakened by a slap to the face. He is told he is being released.

_MUSIC MONTAGE_

We cut to Tess, who is revealed to have taken in little Alexander. She sees him playing with Lex's old action figures and hands him a glass of milk. Wow. Out-of-character, much?

We cut to a stormy sky. We see one person being exchanged for the other. Both of them have on masks that cover their faces. They are guided to the truck opposite them. One prisoner is obviously Oliver, but the other is unknown.

The other person's mask is pulled off. She is Chloe.

Once again, I must question the _logic _behind certain actions. Why the _Hell _did Chloe decide that it would be a good idea to let herself be traded for Oliver, _especially _when no one knows she did it? Going in like that was not only incredibly risky, but also stupid. What if the goons hadn't kept their word? What if they had decided to simply keep both of them?

I know, I know, apparently Chloe saw herself doing this in the visions she received from the Helmet. But the question is: why would Chloe, who is always so strong-willed, bow to fate? Wouldn't she make plans? _Tell _somebody?

She could have very easily contacted either Clark or the Martian Manhunter and inform them of what she was doing. While the trade-off was happening, one of them could just simply swoop in and apprehend the guys that took Oliver. Or, if Chloe insisted on following the vision, she could have _still _told someone and have them follow her to wherever it is she's going. _Or_ she could have simply had a tracking device on her that would allow Clark or Oliver or whoever to be able to see where she is or what she's doing _at any time. _What Chloe did does. Not. Make. Sense.

And I know for a fact that Chloe did _none_ of the things that I suggested she should have done before. How do I know? Two reasons.

1. Just after Clark left for CADMUS Labs, she said, in a very sorrowful tone: _"Goodbye, Clark." _It's obvious that Chloe and Clark won't be having much interaction in the upcoming episodes.

2. SLIGHT SPOILER ALERT! Allison Mack is only contracted for five or so episodes this season, so Chloe will obviously be gone for quite a long time. There will likely be _no_ contact.

And by the way, I'm pretty sure that Allison's departure for a majority of this season's episodes is a reason why this illogical choice was made. The writers didn't know what the heck they could do with her, so instead of finding a logical way to get rid of her, they came up with this bull.

Here's something they could have used: Chloe could have simply _stayed comatose. _Or, if that option doesn't please enough, Chloe could have simply gotten a lead on Oliver and made the decision to move locations so as to find better leads. She could be brought in unheard phone conversations throughout the season. What we were given was just…_lazy._

And I ask: how did Chloe get into contact with these guys in order to make the switch? Does that mean she was able to _track_ them? Or did the Helmet give her information on the group? If the latter part is true, _why didn't she tell anyone anything?_ This just adds to what I said above. This is just really bad, really lazy writing.

We cut to Lois, in the desert, looking at a picture of Clark and herself. She's crying.

We cut to Clark, on the farm. He's reading a letter from Lois. Apparently, Africa was just too good to pass up. He lets the letter go, and it floats away in the wind.

_MONTAGE OVER_

Clark sees a man working farther out into the farm. He walks closer. We see as he sees. As we live and breathe, Jonathan Kent is in full view.

The two begin to talk about Clark's progress. Jonathan refutes Clark's claims of being a disappointment; he in fact argues the contrary. Despite this, Clark soon starts to voice his frustrations. He wishes he was perfect, like Jonathan.

Jonathan, of course, denies being perfect. He goes on to tell Clark about how his own anger lead to his death. Jonathan encourages Clark to not let his second (more like fourth or fifth) chance at life pass him by. He urges him to go out into the world and prove Jor-El wrong, to become the hero he is destined to be.

As Clark digests this advice, Jonathan warns him of the approaching evil Jor-El warned him about previously. Just as Clark begins to ask what's coming, Jonathan disappears.

I liked this scene, I truly did, but I think it would have worked better if it had taken place while Clark was still in limbo. It felt oddly out place here, but I was easily able to forgive it. Good scene.

We cut to Clark's emo tower. Gray mist begins to swirl in the wind. It begins to head towards the very edge of the tower, before it begins to take shape. We see the face of Darkseid.

We cut to the Fortress. We peer into the crystals. We see the Superman suit, proudly displayed, just waiting for Clark to come back and retrieve it.

_EPISODE: END_

_ADDRESSING CONCERNS_

Some people have been wondering why exactly Jor-El felt the need to "confiscate" Clark's new suit. Jor-El did not make it, nor did he have any hand in its creation. Plus, he has no idea that that suit is _the_ suit, the one that people from all over the world will recognize. So the question remains: why would he take it? Well, I answered this question back on the Kryptonsite forums, so all I need to do now is copy and paste.

I think the reason why Jor-El took the suit is, in and of itself, fairly simple. After Clark rescued both Lois and the innocent people in Metropolis (therefore denying Flex's predictions and almost _flying_) he (rightfully IMO) felt proud of himself. If you remember, Chloe told Clark that he would soon become the world's greatest hero, and he would do it _in color. _

Let's look at this from Clark's perspective:

-He "defeated" the great evil that Jor-El warned him about. (In reality, the Lex clone was just there for our convenience. The evil he's about to face is, as we all know, much more powerful.)

-He was able to save both Lois and innocent people; in doing this, he did a heroic deed and laughed in Lex's face for defying him.-He felt like he almost flew.-Chloe told him that he would soon be a great hero, and his colors wouldn't be the (actually kinda stylish) black and white.

-His mother had left him a costume, a costume that was bright and hopeful. It even had his biological family's shield on it!

-For once, _for once,_ he finally felt proud of himself!Now let's add all of that up and look at it from Jor-El's (rather warped, if it really is him) perspective. Jor-El thinks that Clark's getting too vain, too prideful, and has a good bit of darkness in his heart. He is angered that Clark _dares_ to think that he's done a good job, that he thinks that he deserves to be called a _hero. _

The reason why Jor-El took Clark's suit was because of what _Clark_ saw it as. Clark saw the suit as his opportunity to fulfill his destiny, as an opportunity to start all over and become the hero he knew he was meant to be. Jor-El, again, disagrees with this, and wants to disillusion Clark from thinking he could ever become a real , Jor-El also feels like Clark thinks of the costume as his prize. He saved a load of people, yes, but he felt too "prideful" and "vain" Jor-El felt. He would be damned if he allowed Clark to gain any sort of prize for succumbing to the darkness inside of him, so he took it. He took away Clark's "prize." He didn't take away the suit for what it represents to us, or even to him. He took it away because of what it meant to _Clark._

Also, a lot of people are also wondering why Lois decided to up and leave Clark. Here's my view on it.

As you know, Flex told Lois that she was Clark's greatest weakness. Lois apparently took his words to heart and felt that the best way for her to help Clark was to get as far away as she could from him. As much as she loves Clark, she recognizes his duty to the world, and she doesn't want to come between that. Hence, Africa.

Hopefully, I answered all of your questions.

_RATING_

There was just a lot of really illogical moments and leaps of logic (no pun intended) in this episode. It just seemed like it was all over the place at times. I understand the need to want to fit everything you want into an episode, but if you want to do that, you have to make it coherent. This episode just…wasn't. maybe I was just expecting to much of the writers, but I definitely feel that this premiere was one of the weaker ones. I hate to have to give this rating to the final premiere of the show, but I have to be fair. I give Lazarus…

A 2.5 out of 5. Better try next time, guys.

_NEXT EPISODE'S PREVIEW_

_Here's the link: http: / www. youtube . com/watch?v=MzxpOBE2zbc_

_If you pause at the right moments, you'll see that Clark is sporting a new uniform and hairstyle. ;)_

_Here's hoping "Shield" will be better than "Lazarus."_

_Peace to you all, and God bless._

_-Dark Onyx_


	2. Shield

DISCLAIMER: I claim no ownership of the television series _Smallville. Smallville _is the property of Warner Bros. Entertainment and the CW Television Network. No profit is being made in the making of this review, and no copyright infringement is intended.

_Topic:_ Episode Review

_Reviewed Episode:__"Shield."_

_Reviewer:_ Dark Onyx

_Dedication:_ This chapter, and every following chapter, is dedicated to both Jimmy Olsen and my deceased grandfather Andre. Rest in Peace. The both of you will be dearly missed.

"_SMALLVILLE SEASON TEN, EPISODE TWO: SHIELD."_

_REVIEW_

We open this episode with a close-up of the sands of Egypt. Lois Lane, dressed in tight (but stylish!) pants in the middle of the sweltering desert, hops off the side of a jeep. She pulls out her phone (who knew she'd have service in Africa?) and leaves a voicemail on Perry White's phone; from that conversation we learn that she's covering a story on the recently uncovered tomb of the Egyptian goddess Isis.

This is significant for those of you who read spoilers. For those of you who don't, I won't spoil anything for you, in _any_ review. Unless you ask.

She enters a tent (a bigass tent) and walks over to examine a picture of who I assume to be the goddess Isis and her lover, Osiris.

A tall man steps into the entryway of the tent unexpectedly and casually mentions how the people in the picture were star-crossed lovers. He steps a little closer, and we see that he is the man behind Hawkman's mask: Carter Hall.

* * *

We cut to Metropolis, which looks pretty dazzling during the day. Clark walks into the Daily Planet, talking on his cell phone, leaving a message on Chloe's voicemail asking where she is. Some random guy (very rudely, I say!) comes up and slaps a newspaper onto Clark's chest, advising him to check out page three. We see an article about Lois; the headline reads: _"Lois Lane joins Perry White at the foreign desk." _Clark looks understandably morose.

He goes over to his desk and prints out what I believe are the available times to catch a flight to Cairo. Of course, he could just _run _to Egypt to go and pick up Lois, but Clark decided to be smart and catch a flight there in order to avoid suspicion.

He walks back over to his desk and sees a yellow handbag there that wasn't there before. Startled, he thinks that Lois has come back.

Suddenly, a blonde woman who must have lit at least sixty crack pipes before coming into work that day drops a pink basket onto Lois' desk, revealing herself to be Cat Grant (with a "C.")

No relation to the woman on TV. I'm really glad that the writers decided to address that concern instead of moving on full speed ahead and ignoring past events. They deserve cookies.

Clark uncomfortably welcomes Cat to the Daily Planet. While mentioning how excited she is to be working at a newspaper as influential as the DP, Cat pulls a variety of pink and horrifyingly _cute_ objects out of her aforementioned basket.

She mentions how she basically "owned the front page" of the paper she worked at back in her hometown. She whips out her best article, titled _"Mean Arrow: Hero Destroys Playground."_

Mean Arrow…this chick is too much.

She turns on a radio and almost immediately a man's voice begins to badmouth the "vigilante" heroes of Metropolis. Cat seems to agree with his words, nodding along and making little noises of agreement from the back of her throat.

Clark angrily slams a hand over the radio, silencing the voice. Obviously lying, and clearly trying to control himself, he says to Cat that HR doesn't allow the employees to listen to the radio during work hours. He then immediately sets to find Cat a more permanent desk - _away_ from him. Far, far away.

This brings up the topic of Lois. Cat begins to badmouth her, disdainfully claiming that Lois was the one that got the whole "praising vigilantes" shtick started. She tosses Lois' nameplate into the trash without a second thought.

Clark retrieves it and stands over Cat, telling her in an irritated manner that Lois is the best crime reporter that the Planet has ever had. He once again moves to get her as far away from him as superhumanly possible. Cat stops him, and reveals that _she_ is his new partner.

Clark looked positively _horrified. _I was filled with glee.

* * *

Oliver is operating on the only non-touch screen computers in the area, looking for any and all records of Chloe, hoping to find some leads on her whereabouts.

There is nothing. No records. As far as the Internet is concerned, Chloe Sullivan does not exist.

Tess walks unexpectedly into Watchtower. If you remember my last review, I noticed that Clark always seemed to walk into the Watchtower with frightening ease, which left me wondering just how simple it actually was to get into the place. As soon as I saw Tess walk through those front doors, I geared myself up to tear the writers apart.

_But_…I'm happy to say that I don't have to.

Tess mentions that Oliver sent her a message requesting her presence. That means that Oliver was expecting her, and so likely temporarily modified Watchtower's defenses to admit her into the building.

_Yes. _I _like _that. Attention to detail is something the writers often miss, and to see it addressed, even in such an offhand manner, is a very welcome change.

Oliver heads down to speak to Tess face-to-face. He arbitrarily takes a shot at Clark, claiming that he isn't just going to sit around helplessly and just _wait_ for his girlfriend to come back.

The prick.

Tess casually deflects Oliver's criticism by praising Clark's amazing sense of self-control and respect for Lois' decisions.

Oliver ignores this and brings up the fact that there is no record of Chloe Sullivan anywhere. Tess notes that the only one who could erase every trace of Chloe is Chloe herself. Oliver scoffs at this and pulls out a printed e-mail, one that he thinks Tess fabricated. It became obvious, at that moment, that Oliver believed Tess responsible for Chloe's disappearance and removal from the records.

It also answers why Oliver would call _Tess_ of all people to Watchtower to help him find out about Chloe's whereabouts. He doesn't trust her at all; in fact, he suspects her of doing the deed! I'm pleased the writers didn't decide to arbitrarily have Oliver become trusting of Tess once more, especially when you take into account what happened between them the last time they saw each other.

However, I think it still would have been smarter for Oliver to go over to the Luthor Mansion and confront Tess instead of inviting her over to his headquarters. We've seen once that Tess is fully capable of breaking Watchtower's defenses; while it's incredibly true that the protection around the place has been fortified since then, inviting Tess over would give her a chance to either get a very good view of that fortified protection or give her an opening to be able to spy on him and the rest of his team. Not a very smart move.

The e-mail reads as follows:

_Oliver,_

_I never thought I'd have to tell you about us because the smile on my lips when I looked at you pretty much said it all. But now that you won't be seeing it anymore I'll have to use words to tell you. I've never loved anyone the way I've loved you. And I never will again. You will always be my brightest star, my Knight in Shining Leather, my hero. _

Let me just say this: Jimmy Olsen gets absolutely no respect.

Tess revealed that she helped Chloe reset the systems and erase any and all traces of herself. I find it strange that Chloe would even think going to Tess for help, no matter how "similar" they think they are.

* * *

We cut back to the bigass tent. Lois is toying around with some of the artifacts, engaged in a pretty one-sided conversation with Carter. When she turns her back to him, he sends Clark a text message that reads:

"_Lois Lane is safe. You owe me big time."_

The two begin to discuss the significance of the sun god Ra. Lois is reminded of Clark as she listens to Carter describe Ra as a god who was believed to be reborn each time the sun rises.

Lois goes on to describe just how _weird_ that is to her. She reveals that she was raised by a man who believed in only what he could see or prove. For her to one day just look up and see that someone who she always thought was so ordinary is actually as abnormal as it comes is…_shocking_ for her.

She wants to know. She wants to know how "Ra" deals with living an ordinary life with powers. She just wants to get inside the man's head and figure out just how and why he is the way he is and figure out _why _he's chosen to be so similar to humans - to _her. _

With a knowing smile, Carter pulls out a glass of old wine and two shot glasses. He wonders why she doesn't just ask Clark.

* * *

Unbeknownst to them, a man with a very serious cowboy fetish is watching Clark and Cat as they make their way over to her car.

Watching them closely, he pulls a gun out from his trench coat (did I just see a tumbleweed?) and takes careful aim. With a look of utter confidence, he fires.

The bullet soars forward. It bursts through a glass coffee mug, swerves through the path of a couple just beginning to lean forward for a kiss, glides between the space between a businessman's forearm and ear, right over a mother and her son, passes right through the wheel of a bicycle, and lodges itself into the engine block.

"_My granddaddy always told me seatbelts save lives!"_

That car blew the _f*ck _up.

Clark, acting swiftly, super-speeds himself and Cat out the car before any serious harm can befall them. Cat and Clark stare back at the destroyed car in alarm and fear as pedestrians begin to phone for the police.

* * *

Clark examines the bullet he recovered from the crime scene. The letters A-R-N-T are engraved on the side.

Clark walks over to Cat's desk and politely inquires what she has done to get herself targeted. Cat unconvincingly denies herself of being in any sort of trouble. After all, no one would _ever_ think of killing the class Valedictorian! That would be a _crime!_

Cat then accuses Clark of beginning to sound like Lois with his talk of conspiracy theories, which gears their conversation over to vigilantes. Clark, naturally, defends the vigilantes and remarks that it's quite easy for people to criticize them when they can't come out and defend themselves. Cat counters by saying that the vigilantes could come out any time they wanted to; the problem is, they just choose not to.

It was at this moment where I saw where this episode was going, and I felt a surge of affection for the Smallville writers. They're doing a really good job on this episode, and it's showing.

Clark, exasperated, redirects the topic back to Cat's predicament. He reveals that the police found a bullet in the engine block, confirming for Cat once and for all that someone would indeed try to murder a Valedictorian.

"_Oh my God…why would anyone wanna kill me?"_

Clark looked at her. And then he rolled his eyes.

I burst into laughter.

* * *

Oliver is rummaging through all of Chloe's drawers at the Talon apartment. He eventually finds a bottle that is a little less than half empty behind a picture on a shelf across the kitchen. He doesn't have time to take a closer look; at the sound of the door creaking open, he ducks out of sight.

Cat (who had been directed to the apartment by Clark) walks into the place with groceries. The Green Arrow appears behind her suddenly, demanding that she stay where she is.

No wonder Chloe likes this guy. He stripped and redressed in the space of about ten or eleven seconds.

After disabling her defenses (which were comically useless against him) and cornering her at the door, Green Arrow finally reveals to her that he is not a criminal.

Well, aside from the stealing and the murdering and the blowing up of secret labs that a very nice man paid lots of cash for, and the admitted vigilantism, I agree, Oliver's a pretty law-abiding guy.

Cat, taking a moment to show off her reporter's instincts and remarkable common sense, reveals to Green Arrow (unprovoked, mind you) evidence of him kidnapping and torturing people down by the docks.

Intrigued, Arrow steals her phone with nary another word.

Told you he was a thief. Not a criminal, indeed!

* * *

Clark is looking through Cat's file in Tess' office when the boss lady herself walks in on him. Tess regards him with amusement, saying that he only had to ask.

Clark finds out from Cat's file that she isn't who she says she is; her real name is Henry Catherine Grant.

…okay, not _really, _but I think you know where I'm getting at.

You'd think that I would be upset that the writers would pull another stunt like this like they did with Jimmy, but actually, I don't mind at all. We were invested into the character of Jimmy Olsen for three years; I've only known Cat for about seventeen minutes now.

For reasons I can't possibly explain, Tess and Clark begin to chat about Clark's love life after Tess mentions that Clark wouldn't like anyone at Lois' old desk. Wasn't Tess the woman Clark nearly strangled on a bi-weekly basis last year? Didn't Tess come close to siding on a side opposite of Clark quite a few times? I can accept the fact that Tess is now a good guy with a new lease on life, but I can't, as a critic, accept Clark's easy acceptance of her transition. It just doesn't make any sense considering their history.

After Clark moves the conversation along to the bullet he fond lodged in Cat's car, Tess gets an idea on who caused the explosion. She heads to her computer and looks up one of the top agents of the Checkmate organization. Checkmate never managed to figure out the man's true identity, and so they gave him a codename: Deadshot.

* * *

We cut to Deadshot in his workshop. He is conversing with a man on speakerphone, and he expresses his disappointment that his "employer" didn't tell him exactly what he was dealing with. The man on the other line (who I referred to in my "Lazarus" review as "the captor") says that Deadshot should be thanking him instead of complaining; after all, he's just handed him the hit of a lifetime.

Deadshot insists that it was fate, not the captor, who handed him the opportunity. Finished with his work, he reveals his finished bullet. Engraved on it are the words _Clark Kent._

_

* * *

_Cat is packing her things in a hurry. When she hears someone climbing the stairs to the apartment, she freezes.

Grabbing one of the knives on the kitchen counter, she creeps over to the door. It opens, and Cat is startled to see Clark standing at the threshold.

Clark notices Cat's jumpy behavior and questions her well-being. She mentions her recent run-in with the Green Arrow and Clark looks surprised. Cat believes that he was after her because he was afraid of an honest reporter uncovering the "truth" about him and all the other heroes out there. Clark counters her statement by revealing that he knows she isn't as honest as she would like everyone to believe.

Clark asks her why she changed her name. She looks understandably stricken that Clark knows about her secret, but is forfeiting in her answers.

She tells Clark about her son, Adam, who is living with his grandparents until her situation blows over. She reveals that Adam's father, who she at first thought was the love of her life, was not the man she thought him to be. She had to get her son away from his as fast as possible.

Clark opens up about his own problems in love. He reveals that he now isn't so sure that he and Lois (who he doesn't mention by name) will ever get back together, when before he was so sure they would find a way. Clark inquires what happened between her and her ex.

She tells him that the situation got so bad that she was forced to change her name and run away. She expresses great sorrow that she has to hide who she really is just so that she could make a difference in the world. Clark compares her situation to the vigilantes she shunned. Cat, for the first time, is stricken with silence.

Clark commends her on her bravery for escaping her ex. Cat realizes that she might not ever be looked at as some great hero who managed to change the world at the drop of the hat. But she hopes that perhaps one day her son will.

To go through all of this just to escape one man…Cat is a really brave woman. I liked her from the moment she stepped on screen. She was funny, she was refreshing, she was so…innocent. But this scene here revealed that she's seen a lot and is much smarter and brave than her bubbly persona would have you at first believe. This scene made me love Cat Grant.

Clark's phone begins to ring. He pulls it out to see that he's got a message from Tess (normally I'd be shocked that he would have her number in his phone, but considering that he needs her for information, I'll let it slide). He promises Cat that he'll come back for her and departs.

I have to say that I'm not sure just how effective Cat's plan really is. The fact that evidence of a name change (and her former name) is present in her file (which any of the "vigilantes" could easily access) and as we saw with Lois, because it's quite easy for a reporter's face to be seen in the newspaper she works for doesn't really offer her _too_ much anonymity. Although on the surface she may have thought her plan was a really effective one, I for one think she should have put a bit more thought and effort into it.

* * *

We cut back to Lois and Carter. They are engaged in deep conversation. Lois feels that she and Clark were destined to be together, but feels that she just might be the one who's holding him back from reaching is true potential. Carter shoots down that theory and suggests that she might actually be the one he needs to truly _reach _that potential.

Lois fears that she might blow it all for Clark by accidentally spilling his secret. Carter tells her that with every great relationship is a great burden, and the strength to carry it. He believes that she will be able to keep Clark's secret despite her insecurities.

Lois tries to leave, but Carter stops her. He gives her a book, which was given to him by his late wife. It's about two lovers: Prince Khufu and Shayera. They were murdered by an evil man, but their love was so powerful that they were bonded to each other for all of eternity. He reveals to Lois the tragedy of Khufu and Shayera: although they were reborn again and again to find the love of their life once more, eventually, they lost each other in death again, only for the process to repeat itself.

Lois thinks it's a terrible story. Carter reveals that Khufu tried to move on. He scoured the world, trying to forget Shayera, and his love for her. He could not. He returned to his home, resigned to his fate. And as soon as he set foot in his palace, he saw his love.

Carter looks up and sees Shayera where Lois once stood. He looked at his wife, shocked.

He goes on with his story. He reveals that Shayera was there with Khufu all along, but he just didn't see it. He didn't recognize her because the time wasn't right. He had to wait because it made their love stronger.

He took a few steps forward, coming closer and closer to his wife.

"_And their kiss that much sweeter."_

He leans forward to kiss his wife…and Lois smacks him in the face. Carter is shocked.

Lois exit's the tent and Carter stares after her, his eyes wide with bemusement.

Normally I would have been upset with Smallville's attempt at trying to (even indirectly) force some sort of romantic tension between characters, but here, I think it was handled well. Carter clearly saw his wife, not Lois, and merely wanted to _be_ with her, to _love_ her, to hold her in his arms one more time. He just wanted Shayera. And I can't blame the man for that. Great scene.

* * *

Tess and Clark (who are for some strange reason back at the DP instead of at the Luthor Mansion) are going over the information Tess' team recovered from the bullet. Tess has helped Clark because she wants Clark's trust, which he doesn't seem to be ready to give her. Smart man.

After Tess' team pulled apart the bullet and reassembled it, they managed to decipher the message. It was never supposed to be simply A-RN-T; it was meant to say _Clark Kent. _

The two discuss Deadshot's ignorance about Clark's abilities. Tess thinks it's possible that Clark was simply being tested, but Clark wonders why he hasn't struck again by now. Tess theorizes that now that Deadshot knows that Clark is faster than his bullets, his only option is to go after someone he knows that Clark will try to save. Clark will have to act as a shield and save the faux target, which would allow the bullet to penetrate Clark's skin…or rather, it would, if Clark were not invulnerable.

It became obvious to me that, in this episode at least, Tess has become Chloe's replacement. Although I really enjoyed the interaction with Tess and Clark, and Cassidy Freeman managed to make the "Watchtower" role her own, I would still prefer it if Tess got something else to do rather than become a replacement for another character. In my opinion, that's a real waste of both Tess' and Cassidy's potential.

* * *

Cat, equipped with the wig she stole from the Talon apartment, has just gotten off a bus. She is on the phone with one of Adam's grandparents; she tells them to packs Adam's things and get him ready. She thinks that one of the vigilantes knows her true identity and is coming after Adam for revenge. A voice form behind comments that he liked her better as a blonde.

Deadshot corners her at the bus station. He flashes his gun and mentions how a person cannot escape their fate. She begs him to let her go; if not for her, then for her son.

Deadshot shoots back that Adam will eventually get over her death. In three or four years, he will not even remember her face. He says that, eventually, Adam will find someone else to love and will replace his mother.

"_Everyone_ is replaceable."

Cat hits Deadshot in the shoulder with a really lightweight bag and runs away. They start doing that thing that you always see in horror movies. You know, when the blonde girl is running as fast as she can and the lanky assassin with the floor-length trench coat and voice reminiscent of one of those stereotypical rednecks you see every one in a while on Family Guy walks after her a slowly as he pleases and somehow catches up with her?

And then, of course, she trips, and looks back too see him somehow standing _right behind her._

And somehow the girl ends up exactly where the killer wanted her to be, despite the fact that she was in a very wide space the whole time and the odds of her appearing _exactly_ where the killer wanted at _exactly_ the right time are really slim.

And then the girl just stands there, horrified at something she can't even see, and just _stands there._

Deadshot activates a timer, which is set to fire a bullet straight for Cat's head. Clark appears with eight seconds on the clock and punches Deadshot full in the face, somehow not killing him and knocking him into a fence. The counter moves down to zero, and the automated gun fires.

Clark races to Cat's location. The bullet bounces harmlessly off his back, and he grabs it. Just as he reaches Cat (who closed her eyes at the sound of the shot), he pulls her to the ground and places the bullet at the front of her bullet-proof vest.

_Nice. _

Cat mentions that she doesn't need some masked vigilante to come to her rescue; not when she's got a true hero standing right in front of her. She goes on to say that people need to be able to see someone's heart in order to believe in them. They need to be inspired by people who stand out in the light. What we all need is a good ole American hero in red, white, and blue.

But for Cat, red and blue is just fine.

I loved what they did with Cat. They made her not just another character who will give the occasional speech about how wrong it is for heroes to be vigilantes instead of stepping out into the light; they made her someone who plays an influence in Clark's future mission. She let Clark know what inspiration is all about; she told Clark about how people need to see someone's heart to truly believe in them, how a hero must step out of the shadows and into the light in order to be regarded with true reverence and respect. She told Clark what he needed to here, and she was just in the right position to do so. I love Cat Grant.

On Clark's back, out of his line of vision, his skin glows blue: Deadshot's mark becomes invisible for just a second before vanishing back into his skin.

* * *

Carter washes his face with the water given to him by a servant. Unbeknownst to him, his skin glows yellow for a split second, and Deadshot's mark appear son his skin before vanishing.

The servant, who we now know is Plastique, walks out of the tent, a foreboding look in her eyes.

* * *

Oliver is back at the place where he was tortured. He for some reason thought it was a good idea to remove his hood and glasses. Without warning, his old captor steps out of the shadows and greets Oliver as if he were an old friend.

The captor pulls out a gun of him. He mentions that Oliver is wasting his talents by being a vigilante. He comments that he could make a real difference if he were part of an _actual _team. He mentions that people are beginning to get wary of vigilantes roaming the streets. He urges Ollie to join his group; this is his first and only invitation. Ollie raises and Arrow and fires, and the captor fires off a bullet in response to this.

He clips Ollie in the arm, and for just a second, the mark of Deadshot is shown.

Ollie engages the captor in combat, easily winning and bringing him to the ground. He demands to know Chloe Sullivan's whereabouts. When he gets no answer, he increases the force of his blows, demanding an answer.

The captor reveals to Oliver that it wasn't a kidnapping; it was a trade. The captor mentions that Oliver would have been proud of Chloe; she didn't crack one bit.

But she did swallow a cyanide pill.

Oliver steps away from his former captor, his face registering nothing but absolute shock.

Let me say that I'm glad the writers didn't decide to have Ollie struggling on whether or not he should kill the captor in response to Chloe's death. That shows a growth in both them and Oliver.

* * *

Oliver is sitting on the stairs inside the Watchtower, twiddling with the bottle he found back at Chloe's apartment. Clark walks in and spots Oliver on the steps. He steps closer, and as he does so, Oliver reveals that Chloe is "gone."

He explains the situation. Taken aback, Clark asks what the people who took Oliver now want with Chloe. Oliver has no idea.

He tells Clark about how they tortured her, and how she took a cyanide pill to beat them at their own game. Clark looks as if he's about to go into shock and begins to fervently deny Chloe's death. Oliver tosses him the bottle he found, and reveals that there are traces of a cyanide antidote in the liquid.

Clark realizes that Chloe planned the whole thing. Clark begins to argue that they should trust Chloe's judgment and not try and find her. Oliver expresses great guilt over not being able to protect Chloe when she most needed his help.

Clark tries to console Oliver by playing what Oliver believes is the "fate card." He's starting to express anger at the people he's protecting, disgusted that they have the nerve to paint heroes like him and Clark as "vigilantes." He brings up that even the woman Clark loves left him.

Clark acknowledges that Chloe and Lois left _them. _Oliver wonders what it would be like if they didn't have to remain hidden. He questions if all that was happening would be happening under different circumstances. Oliver says that something needs to change.

I'm on Oliver's side when it comes to finding Chloe. We've seen what happens when she's left to her own plans and devices (Seasons 8 and 9), and as we know, her results don't end up nearly as good as she would have liked them. I suppose it might be different now that she's seen the future, but all we can do right now is wait and see.

* * *

We cut to Deadshot in a jail cell. The captor walks over to him, keys in hand. Plastique arrives beside the captor and insists on getting Deadshot out.

Plastique mentions that their "costumed counterparts" have been tagged and released. She says that, very soon, they will be able to track their every move.

"_Let's give these boys a taste of what it's like to mess with the Suicide Squad."_

The captor's name is Rick Flagg. I've been waiting to tell you that for ages. I knew full well who he was in my first review, but I didn't want to spoil anything for anyone who wanted to look him up. Now that you all know who we're dealing with, I don't think it'll matter.

* * *

We cut to the desert for the final time. Carter runs up to Lois and apologizes for his actions the other night, explaining that he must have gotten a little too caught up in the story. It is here that Lois mentions that the story was an autobiography, not fiction. She found a note in the book, addressed to Carter.

Lois reveals herself to have caught on to Carter's secret. Carter mentions how Clark always called Lois "wise beyond her years." He hopes that they can keep what happened the other night between the two of them. Lois agrees, smiling lightly.

When Lois questions Carter's heart-to-heart with her, Carter tells her that he has recently been hearing his wife's thoughts. When that happens, he knows that he will joining her again in a new life.

When Lois expresses concern over him, Carter merely smiles, and says that it's time for him to meet his destiny. The reason he gave Lois that talk was because he wanted Lois to meet hers as well. He knows that Clark cannot be all that he can be without her.

Lois says that her future is in Africa, not with Clark. But it's obvious that she does not want believe it. Carter mentions how the philosopher Nietzsche believed that one should live for the present, not the future. Nietzsche also believed that people who chased some far-off dream of the future were actually running away from their true destiny.

To Nietzsche, the _true_ hero was the one who embraced the life he or she was given and made it even better. He called that person Übermensch.

"_A Superman."_

_

* * *

_Clark walks down a dimly-lit hallway. He comes to stand at the very top of the Daily Planet roof. He looks down at the bustling city beneath him. The plane ticket to Cairo slid out of his hand.

Clark, in his new costume, looks out towards the sun, and for a moment, just a moment, we believe that he is going to fly.

_EPISODE: END_

_ANONYMOUS REVIEW REPONSES_

**renbuh:**

1. There is absolutely no evidence of that. That's pure speculation, so I can't really do anything about that.

2. I never said he _couldn't_ have done it, I said that it was unlikely for him to have done so at that particular time because of the urgency Chloe had in her voice about him finding CADMUS Labs. And again, if he needed to find the address, why not just use one of Watchtower's computers? They were literally _right there._

3. I'm gonna assume Tess is good. Shield seems to want us to believe that, anyway.

Thank you for your reviews!

_ADDRESSING CONCERNS_

Just so no one is confused, the statements I made about Oliver earlier were jokes. I really do like the character, but I found his statement about him not being a criminal really funny (in a good way). But I didn't like him taking a shot at Clark either, so that prick comment was half-joking, half-serious.

_RATING_

This was a very good episode. Better than "Lazarus" by far, in my opinion. Character progression was handled nicely; there were plenty of awesome moments and effects; the show was written in a tight, cohesive manner that managed to convey both deep seriousness and lighthearted, necessary humor at the right times; and it overall just had an awesome feel. I give Shield…

A 4 out of 5. Keep up the good work, guys.

_CLARK'S NEW OUTFIT - LINK_

_http: / .no cookie . net/_cb20101002055341/smallville/images/e/e6/Shield__

I don't care what anyone says: I love it. Although the red jacket is a little cheesy, overall, I really like the design. No joke, I would buy and wear that jacket. It's just that badass.

I do feel that the costume (and the moment that came with it) was a bit useless. We already know that Clark has received his true suit from his mother, and we also know that, eventually, this suit design will be discarded for the one in the Fortress. I'm also baffled about why Clark simply didn't just call up his mother and ask for another suit of the same design. I feel really disappointed that the writers would be foolish enough to introduce the real suit - but not let him use it.

This is the suit that should have been in the box back in "Salvation."

_NEXT EPISODE'S PREVIEW_

_http:/www. youtube. com/watch?v=UD_6q4CJe_8_

_Take care, and God bless._

_-Dark Onyx_


	3. Supergirl

DISCLAIMER: I claim no ownership of the television series _Smallville. Smallville _is the property of Warner Bros. Entertainment and the CW Television Network. No profit is being made in the making of this review, and no copyright infringement is intended.

_Topic:_ Episode Review

_Reviewed Episode:__"Supergirl."_

_Reviewer:_ Dark Onyx

_Dedication:_ This chapter, and every following chapter, is dedicated to both Jimmy Olsen and my deceased grandfather Andre. Rest in Peace. The both of you will be dearly missed.

"_SMALLVILLE SEASON TEN, EPISODE THREE: SUPERGIRL."_

_REVIEW_

Three weeks ago, at the conclusion of the episode _"Lazarus," _a relatively unpopular radio show host named Gordon Godfrey was possessed by the malevolent spirit of Darkseid.

The possession, shown to us in the form of ravens (surrounded by black smoke) entering the body of the host, was pulled off unconvincingly. The effects were a little bit shady, and the acting didn't make it any more convincing.

* * *

Three weeks later, in the present time, Gordon Godfrey in holding a press conference to discuss the message of his new book: _"Super-Heroes or Super-Menaces?"_

Clark, along with a host of other reporters, is there covering the event. Naturally, he looks uncomfortable and in disagreement with the "anti-vigilante" message Godfrey is spouting.

Lois steps unexpectedly into the frame and has a brief reunion with Clark, in which they discuss Lois' disappearance and Clark's urging for her to do so. They looked as though they wanted to kiss the entire time. I'm glad they didn't; grown-ups getting all kissy-faced is icky!

Godfrey takes his criticism of the Blur's methods (as well as his apparent goodwill and unwillingness to come out of the shadows) too far for Lois' liking, and she starts up to his podium to confront him on the issue.

"_Bring out the marshmallows, Clark. I'm gonna roast this turkey!"_

Before Lois is able to have her ill-timed confrontation, Godfrey's "STOP THE MENACE" billboard is unveiled. Without warning, Godfrey's billboard began to shake tremendously. Within seconds, it begins to plummet downwards into the crowd.

Clark uses his speed to push Lois (who is frozen almost directly underneath the billboard's path) out of the way and stop the billboard from harming the reporters and Godfrey. Before the sign comes far enough down for him to catch it, however, it is caught in midair by someone who is most certainly _not_ Clark.

Kara, dressed in an outfit that is almost perfectly identical to her Supergirl uniform (minus two or so major details), winks at the stunned Lois and Clark and flies off into the Metropolis skyline.

The red cloth that was used to cover the billboard was obviously CGI. It looked depressingly fake, and it took me out of the scene. Kara holding up the billboard was, if possible, even _worse. _Instead of looking as though a professional special effects crew put together a short scene of a girl holding up a billboard in front of an astonished crowd, it seemed to me that film students with only moderate experience and a really tight budget decided to slap something together for a quick fan-film. But I digress.

Oh, and if you were curious, the writers explained Cat's absence in this episode through Lois:

"_She was **conveniently **__volunteered to cover a dog-sled race in Alaska."_

_

* * *

_Back at the Daily Planet, Clark and Lois discuss Kara's actions and the impact she's had on the public. Lois (who seems to have forgotten everything she and Carter discussed last episode) continues to play coy with Clark by addressing the oddness of him seeing his _cousin_ with super powers. After uncomfortable dialogue (which wasn't uncomfortably given or acted) the two agree that Kara must have come into close encounter with a meteor rock.

Lois and Clark go on to debate the rewards of a hero going public. In a show of continuity and character development, Clark expresses the idea that the Blur should follow Kara's lead. Lois shoots down the idea fairly quickly; also showing continuity, she argues that heroes coming out into the open and showing their faces could have very bad consequences for both them and the people they love.

I don't have much experience with journalism, so maybe I'm simply overreacting to everyday occurrences, but was I the only one who found it odd that a full-fledged article on Kara (nicknamed the "Maiden of Might") was written, edited, and published in the thirty or so minutes it must have taken Lois and Clark to make it back to the bullpen?

* * *

"_Mmm, gurl you sexy! Ooo, that's right, work it hunny! And pose! And pout! And pose, and pout, and whuuuuut? Whoo Jesus, if I wasn't gay, I'd just smack your little bottom!"_

Clark walks in on Kara's photo shoot, and upon seeing him, Kara calls for a break in the action. The two of them come together for an embrace, and the pleasantries are exchanged. Clark questions Kara on her actions at the press conference with thinly-veiled concern.

Kara, vague in her reasons for doing so, tells Clark that it is critical she get her image spread around the city as quickly as possible. She claims that she's doing it for his benefit; as you might be able to understand, Clark doesn't really see the silver lining.

Clark doesn't appreciate Kara's blatant flaunting of her images and abilities; if anything, he's almost offended by it. He demands answers. Kara reluctantly hands them over.

Jor-El has given Kara a mission, and getting her image and powers around the city is a part of that mission. Clark wasn't informed of either Kara's return or her operation because Jor-El has, effective three weeks ago, disowned him; he is no longer considered his son.

Am I the only one stricken by how absolutely _odd _it is that Jor-El would trust _Kara_ with a mission before _Clark? _Jor-El has expressed nothing but the deepest loathing (and I admit that perhaps that is too strong a word) and distrust for Kara ever since he became aware of her presence on Earth. His feelings for her have never been shown to have changed, and the idea that he would come to her for _any_ problem is laughable.

Instead of Jor-El abandoning his son just because he, for once in his life, displayed confidence in himself and his abilities, he should be guiding Clark onto the "right path." What he is doing now makes no logical sense; if he doesn't believe that Clark is ready to defend the Earth and is susceptible to being swayed by the darkness, why would he continue to let Clark keep his powers? Completely abandoning and disowning him will not help the Earth - at all. If anything, it makes Jor-El looks like a complete and utter buffoon.

And can someone explain to me the logic of Jor-El disowning Clark _now, _of all times? What, confidence is a no-no, yet his endless defiance is a-okay?

And you could argue that Kara is simply a last resort, and that perhaps Jor-El and Kara were willing to put their past disagreements aside for the protection of the Earth. I can understand that. But, again, if Jor-El has now reached the conclusion that Kara is a more worthy candidate than Clark to defeat Darkseid, _then_ _why does Clark still possess super-powers? This does not make any sense!_

By letting Clark continue to keep his powers (and bear in mind that I'm following Jor-El's logic here and not stating my own personal feelings) he in unnecessarily endangering the Earth. If there were ever a time to strip Clark of his powers, it's now.

Jor-El shouldn't be able to do any of this _anyway. _It's been three episodes, and we _still_ haven't been told how the Fortress was able to repair itself.

Also, Kara wasn't exactly all that sweet on Jor-El either. Why would she just blindly follow his orders with absolutely no intention on finding out Clark's side of the story? Why wouldn't she try and find out Clark's point of view on the whole situation and _then_ proceed in whatever manner she saw fit? It was very out-of-character for Kara.

That aside, I can almost guarantee that it will be revealed that, in the end, this was all some sort of test. I can assure you that whatever will come out of Jor-El's artificial mouth if this is indeed true will be (for lack of a better term) utter bullshit.

And the way Kara is going about the mission is idiotic. If she really needs to get her face and image all over the city, then she _needs_ to be using a disguise for that image. She is known as Kara Kent (thanks to her winning the Miss Sweet Corn pageant back in the seventh season), and there is no doubt that reporters, fans, and crucifiers alike will be doing back-checks on her. Not only could that hurt Clark (who would logically be investigated as well) but also Martha Kent. It's quite obvious that she (and therefore the writers) didn't think this all the way through.

* * *

Lois and Godfrey finally have their confrontation, in a church that bears a strong resemblance to the one that was looked after by Edward Teague. Their discussion begins on a slightly hostile note. Lois asks him for his comment on his "embarrassing save by a certain Girl Wonder."

Godfrey is unconcerned with his near-death experience and remains stubbornly un-swayed in his "anti-vigilantism" philosophy. He assumes that Kara was _responsible_ for the accident, and believes that her actions were a ploy to get people to lose their faith in him.

"_She may fly, but I have a feeling that blonde _**_bimbo_**_ is no angel."_

HEY! You're still in church, you schmuck!

Unrepentant, he continues on to reveal his plans to dig up any and all information on the vigilantes that operate within Metropolis' city limits. The Green Arrow (whose secret identity has been told to him by someone who is _implied _to be Rick Flagg) will be the first to have his identity revealed, and if all goes to plan, his reputation will be slaughtered.

Tomorrow morning, the final chapter of his book will be released online; and with it will come the secret identity of the Emerald Archer.

The dialogue in this scene (as well as the chemistry between Erica Durance and Michael Daingerfield) was spot on.

* * *

Oliver is undergoing his martial arts and disciplinary training inside his office at LuthorCorp Plaza. He flashes back to the very first time he and Chloe shared a kiss, and in his anger and frustration at not being able to locate her, he smashes his fist into a wooden board, shattering the center of it into pieces.

Lois sarcastically applauds the effort. The two of them fall back into their usual banter, and Oliver speculates that Lois left simply because she was afraid to let Clark down, and is only back because she is regretful of her actions. Lois corrects him and gives him a bit of insight into the insecurities she and Carter discussed in the last episode.

Lois and Oliver discuss Godfrey's plan to make Oliver's secret identity common knowledge. Oliver wants to brush it all off; he conveys that he doesn't consider Godfrey a real threat. What's interesting to note is that he seems extremely unconcerned with the fact that his identity has been compromised.

Lois insists that they continue to discuss the issue, and Oliver is revealed to think that it wouldn't necessarily be a bad thing for his identity to be revealed to the world. He believes that the people have a right to know.

Am I the only one who noticed just how _weird_ it is for Oliver to be practicing this sort of thing at his _job? _I know he's the boss and everything, and therefore he can do whatever he wants, but why would he make the decision to catch up on his practice at _LuthorCorp_ of all places? It looks really odd, and it clues you in on the fact that the producers destroyed the Queen Tower set.

Also, I feel the Chloe-Oliver scene was inserted at a very odd moment, and felt really out of place. It was just unnecessary in my opinion, and it didn't belong in this episode. I have nothing against Chlollie (I've actually grown to like it), but I don't need it shoved down my throat every episode.

And where the Hell is Oliver's scar?

* * *

Godfrey's publicist enters his limo and compliments him on his interview. She remarks on the fact that she hasn't seen his final chapter and requests that she be able to look it over before its due date to be released. He denies her.

The two go on to talk about Godfrey's influence. He wants to be able to touch _every soul _in Metropolis - and likely the whole world. He goes on to note the frailty of human beings and notes that the greatest architects of their own undoing.

Slightly unnerved, his publicist recommends that he take a break for the night and leaves him to his devices. He seems to agree with her; reaching into his inner coat pocket, he pulls out a flier for _"Club Desaad." _

The women listed on the flier are as follows:

_XX-Kitten._

_Poss Sinstress._

_Mistress Shea. _

Those names are completely and utterly irrelevant to this review. I just felt that you deserved to know.

Plus, I like the sound of XX-Kitten.

He commands his chauffer to take him to the club, his voice taking on a dark undertone. The driver (Lois) agrees.

* * *

Clark is upset to find that his shortcut to the Fortress has been stolen. Kara flies in at that moment and reveals to him that she confiscated the Key. Annoyed, he takes it back from her, and the two begin to engage in further discussion about Kara's purpose for coming back to Earth.

Kara's motivations for showing off earlier are revealed to be because she is trying to draw the dark force that has come to Earth (Darkseid) to her so she can defeat it. Clark is upset because Jor-El turned to Kara for help instead of him.

The conversation begins to drift directly to Clark. Kara maintains Jor-El's opinion that Clark isn't ready to face Darkseid. Clark maintains that he _knows_ his destiny, and believes that with all the training and trials he has received, he _can_ defeat the threat.

Kara reveals that the evil has the ability to take advantage of peoples' doubts. Clark once again maintains that there isn't anything out there that he can't handle. Kara begins to mock Clark by noting his inability to fly.

Clark suggests that the two team up, instead of Kara blindly placing her faith in Jor-El and putting the world at potential risk. Clark urges her to help him.

Both Kara and Clark came off to me as arrogant in this scene. Clark was less so; if anything, he was overconfident in his abilities and his belief that he could handle anything. Kara, on the other hand, came off as arrogant and mocking when she mocked Clark for his inability to fly. Personally, I don't see what flying is going to do against _Darkseid, _of all people, but it's normal for others (even fans) to put a sense of over-importance on the flight issue.

And, umm…it only occurred to Clark to go back to the Fortress to have a chat with Jor-El _now? _He's had an entire episode (_Shield_) and several hours of off-screen time to go talk to daddy, but he chooses _now_ to have a family reunion?

* * *

Clark and Kara are standing at the top of a windmill, attempting to gain access to Clark's power of flight. Kara describes to Clark how flying just comes _naturally_ to her, and he seems to take the words to heart. He tries to tune out every noise and concentrate on his objective, but it proves to be impossible for him.

Kara recommends that he focus only on one _particular_ sound; such as the flapping of the wings of a butterfly. With a look of utter determination, Clark takes to the sky.

And he flies.

For a few seconds. Then he crashes down into the barn.

Clark is understandably upset by his failure, and Kara remarks that it was a mistake to go against Jor-El's wishes and attempt to train Clark. Clark insists that he just needs more time to figure it all out. Kara denies him his second chance and stresses that he isn't ready. Clark refuses to sit by and do nothing. Kara spontaneously reveals how Darkseid managed to come to Earth (through a rip in the universe three weeks ago) and insists that he won't wait around until Clark has access to all of his powers.

Clark, who seems to have caught on to how Darkseid arrived, speeds off. Kara follows in his wake.

It was blatantly obvious that a green screen effect was used to create the field at which the windmill resided. The windmill itself was made out of bad CGI. The flight scene was really good, however. I was slightly disappointed when Clark wasn't allowed a second chance, but by no means was I surprised.

Also: Kara's ensemble of a blue leather jacket, yellow shirt, red skinny jeans and boots was a really good look for her. I actually like it (in terms of proto-suits) better than Clark's current Blur costume, although I shouldn't have to say that I wouldn't want him wearing it.

* * *

Kara and Clark arrive at Clark's old tower. Clark reveals to Kara that he used the Book of Rao three weeks ago to open a portal; that portal, he reasoned, must have enabled Darkseid to come to Earth. He speculated that perhaps Darkseid could perhaps be sent back to wherever it came from by using a separate portal.

Kara reveals that she has had previous practice in using her bracelet to open portals. She goes on to say that Darkseid feeds off of negative emotions. He can see a person's thoughts and feelings just by looking a them, and if given the chance, he can find the barest trace of doubt in even the purest soul. He can possess those people, and if Clark confronts Darkseid before he is ready, he will most surely be possessed.

Darkseid, however, cannot prey upon someone who is pure of spirit.

Okay: this would have been a wonderful time for Clark to explain to Kara the events of what happened last year with Zod and the Kandorians. Instead of (justifiably) demanding why Clark opened a portal that Darkseid was able to sneak through, she just excepts his explanation without question. This was most likely to gloss over the fact that Kara's arc in season eight was rendered completely and totally unnecessary and worthless by the entirety of the ninth season.

This also makes everything that Darkseid does this season Clark's fault by extension. Whoopee.

And I _did not at all _appreciate the implication that Kara is a better hero than Clark at this point. In my opinion, that can't be farther from the truth.

Clark has had much more experience with dealing with these sorts of situations than Kara. Over and over again he has been tested and put through ridiculous trials and he has managed to come out on top each and every time. Kara has pulled off a few saves and traveled in space for a year. Do the writers truly expect me to believe that she is currently the better hero just because _Jor-El _said it was true? I don't think so.

This is a typical case of introducing guest heroes (old or new) and building them up while making Clark look bad at the same time. I _hate_ that. I have absolutely no problem with Kara coming back to give Clark a helping hand or whatever, but to almost outright state that she is the better hero right now? In the final season of _Clark's_ show? Yeah, I don't appreciate that.

And why the Hell is it suddenly nighttime?

* * *

Oliver enters the same church that was seen earlier during Lois and Godfrey's first face-to-face interaction. He kneels by the alter and pulls out a picture of his parents.

He begins to speak to the picture, his voice choking up with held-down emotion with every sentence he spouts. He feels that he's let his parents down because he failed to protect the person he cared about the most. He tells them of Chloe's sacrifice, and how he feels that she (nor should anyone else close to him) shouldn't have had to go to such great lengths to protect him. He kisses the photo and walks out of the church, leaving the photograph behind.

* * *

After following Godfrey into _Club Desaad, _Lois dresses up in full Dominatrix gear (along with a mask and blonde wig) in an effort to seduce him. Her plan works, and within seconds, she and Godfrey are going at it like wild animals in the backroom.

I'm not joking.

Okay, I am, but wouldn't that be hilarious?

Los is easily able to seduce him, and in the process she learns a few…kinky…things about the guy that I don't think anyone in particular really wanted to know.

She handcuffs Godfrey's hands to the chains above his head and invites two other women to "smash [her] body up against his" and "[become] the woman his Mama warned him about." The girls eagerly adhere to Lois' request, and in record time, Lois has successfully gotten several pictures of the threesome on her camera phone.

After sending the two other women off to go spank each other (no joke) Lois reveals her identity. Godfrey is suitably impressed.

His attempt to bribe Lois into not publishing the photos by giving her his one and only copy of the evidence revealing Oliver's identity as the Green Arrow proves to be futile. With the click of a button, the pictures are sent to her editor.

Godfrey snaps the handcuffs, his voice once again taking on a deep undertone. He comments that, thanks to her pure heart, he is unable to take control of her body. She attempts to fight him off, but he deflects her efforts, and with one hit, she's down for the count

Some people may think that the fetish club fiasco was a little bit too intense for Smallville, but I disagree. Aside from seeing people in risqué costumes and a little bit of grinding here and there, nothing big or intense actually happened. If anything, the whole thing was pretty tame.

I rolled my eyes when I saw Lois dressed up in yet another one of those eye candy outfits that were obviously designed to attract the young male crowd (such as myself). Those cheap little ploys need to stop, effective immediately. I love seeing Erica in these outfits as much as the next guy, but even I recognize that there's a limit to how far the writers can go with it before it starts to get grating. I honestly have no idea how or why Erica puts up with it.

I have mixed feelings on Darkseid visiting a fetish club. On the one hand, he is freaking _Darkseid! _Among the greatest and most powerful of the New Gods, _ruler_ of the planet Apokolips, evil manifested in physical form, the conqueror/destroyer of worlds, _freaking Satan himself! _He should be _above _things like this!

On the other hand…like I said, Darkseid is considered by many to be the ultimate evil. He has often been compared to Lucifer himself. This is something I could easily see the devil doing. And honestly, when I think about it, I don't think it _too_ much of a stretch to think that Darkseid would come to a place like a fetish club, whether it be for amusement or pleasure.

I'll just dock half a point.

* * *

Clark leads Kara into the Watchtower and does a very quick run-down of its function and history. After taking a glimpse of the Tower's interior and seeing Clark taking command of its accessories, Kara comments that Jor-El might have underestimated Clark after all.

Kara mentions that it's likely that Darkseid's host is someone who has a lot of influence. Clark accesses the newsfeeds and decides to start with Gordon Godfrey. He finds a video of a speech Godfrey made on the website of a fictional news station, and within minutes, his super hearing picks up on the underlying voice of Darkseid underneath Godfrey's.

Kara steps up and uses the computers to try and track Godseid's movements. They are able to access a street's security cameras and come across Godseid's limo just before it pulls off to _Club Desaad. _After zooming in on the face of the driver and realizing that Lois is involved, the two of them speed away.

I really liked the Kara-Clark teamwork that this scene exhibited. This is what we should have gotten instead of the condescending remarks from Kara and the arrogance from both of them.

* * *

Lois wakes up to find herself bound and gagged with Godseid standing over her. The noises she makes while she tries to escape sound really sexual, especially when you keep in mind that she's in a fetish club and dressed in Dominatrix gear.

Godseid commends her on her faith in superheroes and mentions that her suffering is exactly what he needs to bring the Blur to him. He switches on a device that begins to pull at the bonds wrapped around Lois' arms and legs, stretching them in different directions and making it likelier by the minute that she'll be ripped apart.

I just realized that the producers most likely had the actor who played Godfrey use the same voice changer Justin Hartley uses when he dresses up as Green Arrow. The voices sound incredibly similar.

* * *

Clark and Kara enter the club and Clark decides that they should split up and search for Lois separately.

Clark enters a dark room and sees Godseid silhouetted against a stormy sky. He demands to know what he's done to Lois. Godseid dodges the question and begins to plant the seeds of doubt within Clark's mind. Clark tries to shake off his feelings and once again demands to know where Lois is. Godseid delves deeper into Clark's mind, and starts to bring up Clark's insecurities and darkest desires. Godseid can literally _see_ the darkness in Clark's heart, and right then and there announces his plan to possess his body.

The essence of Darkseid exits Godfrey's body in an explosion of black smoke and crows. The essence begins to surround Clark, and just as it swoops in in an attempt to take control of his body, Kara darts in, her bracelet acting as a shield and repelling the darkness with a bright light.

Clark is shaken.

I'm annoyed; not because Kara saved Clark, but because we were given no explanation as to _how _Kara's bracelet was able to repel the darkness. It was stated earlier that her bracelet has the potential to open a portal to send Darkseid back to where he came from, but there was no mention or implication of it being able to completely repel his essence.

* * *

Clark rushes to Lois' aid without a second thought. He frees her from her restraints and gently places her on the ground. Before Lois wakes up and realizes that it was Clark who rescued her, he speeds away and Kara takes the credit for the rescue.

I actually liked that Clark's rescue bit was hidden behind a red sheet. Not only does it leave the save to the imagination (which is sometimes necessary, in my opinion, and somehow even makes the rescue more exciting) but it also saved us from more bad special effects.

* * *

Lois and Kara walk out of the club. They begin to talk about Lois' ordeal, and Lois brings up the topic of Godrey's apparent "double life." Kara, going along with Lois' misinterpretation what truly happened, is unimpressed by Godfrey's dark side.

"_There's two sides to everyone. Even heroes."_

Lois and Kara then begin to discuss what it's like to have super-powers. Kara mentions that, ever since she gained her abilities, she hasn't been beholden to anyone or anything. Lois' expresses sadness over this. At Kara's confused look, she goes on to say that Kara must feel incredibly lonely. She speculates that it might be easier to be a hero; that way, you don't have anyone tying you down.

Kara remarks that it is easy for people to only see the powers, and not the person behind them. Upon reflection, she realizes that even heroes, on occasion, need someone to come home to.

I really liked this scene. We very rarely got to see Klois interaction before this episode, so to see the two talking to each other in a genuine and thoughtful conversation was refreshing.

* * *

Back at the DP bullpen, Lois drops a newspaper article detailing Gordon Godfrey's sexual exploits onto the files Clark is looking through. She mentions that a friend of hers at the Metropolis Inquisitor published the story in her place; after all, "leather and lace" realy isn't the Planet's style.

Clark thinks that Lois went too far in her efforts to discredit Godfrey. Lois defends her actions by saying that she wasn't able to stand idly by and listen to Godfrey badmouth and undermine Metropolis' faith in its heroes.

Clark commends her on her bravery, but he is still hesitant to simply let Lois' dangerous actions go. Lois once again defends her actions by revealing to him her fear of being alone in the world without heroes like the Blur or Kara. Clark warns her that, if she continues to place people like the Blur on such a high pedistal, they just might let her down.

Lois scoffs at this; she is fully aware that every hero - including the Blur - is a real person, just like her. She recognizes their internal wrestlings with their doubts and fears. But she believes that the Blur is…different. He's _her_ hero. And no matter what, he will always be there for her.

This was a very beautiful scene. I really liked it.

However, I have to note that it's unfortunate that Gordon Godfrey's career was absolutely _ruined_ because of Darkseid. We saw at the beginning of the episode that he was just a simple radio host that stood for nothing more or less than "Truth, Justice, and the American Way." Because of Darkseid's interference in his life, his career has been flushed down the toilet. I do not blame Lois for being the one responsible for making Darkseid's actions in his body public knowledge; she had no way of knowing that he was possessed. However, I still feel sad for the guy.

* * *

Clark, deep in thought, leaves the Daily Planet and bumps into a brunette woman just outside the entrance. He looks back to apologize, but with a start, he realizes that the woman he ran into is Kara, in a dark grey business suit and glasses.

Clark hesitantly compliments Kara on her new look, but questions why she felt it necessary to play dress up. Kara claims that she recognizes now that you aren't able to save people when you are the center of attention; nevertheless, she's going to stay in Metropolis and continue to fight Darkseid.

Clark and Kara begin to discuss what happened back at the club. Clark reveals his confusion over how the bracelet was able to repel Darkseid's essence. Kara explains that the bracelet most likely wasn't able to act as a portal because Darkseid was trapped inside of a host.

Clark and Kara then discuss why Darkseid didn't see it fit to try and possess Kara instead of Clark. Without waiting for an answer, Clark morosely comes to the conclusion that Kara is "pure of spirit." For that reason, her efforts in leading the Darkness to her were futile.

Kara doesn't feel as though she's pure of spirit. She feels as if she has just as many issues and flaws as anyone else does. Clark reminisces on what occurred between him and Godseid; he acknowledges that if Kara hadn't come between the two of them, he would have been possessed by Darkseid's spirit.

Kara tries to encourage Clark to try and overcome his failure at repelling Darkseid. She goes on to urge him to stay out of the fight with Darkseid. Without another word, she leaves him. Clark reflects on her message, and wonders if maybe the Blur truly isn't the hero he always thought he was.

Okay: now I'm angry.

Did the writers really just do this? Did they _really_ come up with the idea that Kara should get a separate identity from her heroic persona before Clark and actually have the _nerve_ to think that it was a good idea? Did they really think that the only way to make Kara look even more great in comparisoin to Clark was to once again have her (unintentionally on her part) spit in his face and announce that she's better than him? **_Did they __really __just do this?_**

I don't have much a problem with Kara announcing her prsence to the world upon reflection; someone could easily (and justifiably, I might add) argue that _Supergirl_ going public before _Superman_ is just as much a spit in the face to not only Clark Kent of the _Smallville_ universe, but the Superman mythos itself, but I would have to disagree simply because of one fact: _her presence didn't do squat._

It truly didn't. When Superman made his presence known to the people of Earth, everything changed. More costumed heroes began to come out into the sunlight; people began to put their faith in the heroes that emerged; and they looked to Superman as a symbol of hope and inspiration, and in the most extreme cases, he was regarded as a _savior. _Kara's debut did absolutely none of that.

Public opinion, as a whole, has not changed. No heroes have decided to come out into the light directly because of her influence. She is not looked at as a savior or source of inspiration. Her outing accomplished virtually nothing, and for that reason, I do not see this as a sign of disrespect to the mythos. Plus: since Kara's outing was an absolute failure (in terms of the mission she was assigned), she put Clark and Martha at risk for nothing. Oy.

So Kara's staying in Metropolis to fight Darkseid. Does this mean that we'll be seeing her around often? I sincerely doubt that. Laura Vandervoort (the actress who plays Kara) is currently a series regular on the sci-fi show "V" and we were lucky (and I hesitate to use that term) that she was able to find the time to make even _one _appearance. Not giving Kara a clean send-off was irrational and misleading, and I don't appreciate that at all. I can almost _smell _the plot holes that are bound to arise.

I noticed that the writers didn't actually explain _how_ the bracelet was able to repel Darkseid's essence. All they did was explain that he couldn't be banished back to Apokolips because he was taking on host bodies instead of physically appearing. That doesn't in the _least_ explain why the bracelet was able to act as repelent. I'm not surprised that we weren't given any straight answers, but to try and be coy by distracting us with a second exlanation and then completely ignore the actual question? That's low.

Kara doesn't feel as if she's pure of spirit and acknowledges that she has flaws and doubts. _So why is she trying to fight the darkness, and why is she insisting that Clark stay out of the fight? _Does that make sense to _any _of you? She berates and condescends to Clark for not fully believing in himself, but to then pull a one eighty and reveal that you yourself have doubts? And to then turn around and say that Clark should _stay out of the battle and let her handle it alone? _**_Are you freaking kidding me?_**

And then she just up and leaves. She doesn't hug him; she doesn't say she loves him; she just turns around and walks away from him. My…God.

* * *

Lois brings Oliver the flash drive she confiscated from Godfrey. Oliver looks slightly disappointed that his secret wasn't revealed, but he nevertheless thanks Lois for her efforts. However, he no longer wants the people he cares about fighting his battles for him.

Their conversation switches to Chloe's extended absence. Oliver reveals to Lois the true (but not complete) circumstances of Chloe's disappearance. Lois is confident that Chloe will eventually return, but Oliver doesn't look as though he shares Lois' self-assurance. However, he hopes that she's right.

A crowd of reporters enter Oliver's office. With little hesitation, he reveals to them that he is the Green Arrow.

I'm glad that Lois is aware of Chloe's disappearance, and that the matter of her disappearance in regards Lois' feelings about it were brought up. I like it when things like that aren't simply swept under the rug.

_ANONYMOUS REVIEW RESPONSES_

**hot chocolate:**

You are very welcome

**katara:**

No, she's not actually dead.

**Kori:**

Sorry, but Chloe lost her healing powers a long time ago. Watch the first episode of season eight.

**Someone who used to care:**

I'd appreciate it if you didn't insult other people when you review my stuff. It's fine that you dislike Clark's new costume, but to say that he looks "gay" is unacceptable. I would prefer it if you refrained from doing that. But I do agree that it would have made a lot more sense for him to simply have asked his mother to make a second suit.

_ADDRESSING CONCERNS:_

I have nothing personal against Kara. I actually like her character. I just really hate the condescending attitude and arrogance that she displaed in this episode. I won't miss her.

_RATING:_

This episode immasculated and regressed Clark in ways I wouldn't have thought possible in the final season. Things didn't make sense; decisions weren't fully thought out; they tried to make Kara seem like the better hero _the whole episode, _only to reveal in the end that she actually isn't, but then did a complete one eighty and said she indeed _was; _plot points were wonky; explanations weren't given; I could go on and on. For these reasons and more, I give Supergirl…

A 1 out of 5. I _hate _this episode. And I can't even dock half a point, because 0.5 isn't exactly a rating I can go with.

_NEXT EPISODE'S PREVIEW:_

_http:/www. you tube . com/watch?v=yqc7XWrJIHU_

_I hope to God Homecoming is better than Supergirl. After all: it's the 200th__ episode. Take care, and God bless._

_-Dark Onyx_


End file.
